The iconic Peter Gunn Theme Song, a staple of cool jazz and television soundtracks, often sparks discussions among musicians about its underlying harmony. A recent online debate highlighted this, with one musician recalling a chart explicitly labeling the solo section as “Mixolydian.” This perspective, while valid in a practical context, opens up a deeper exploration into what makes this piece so distinctive beyond a simple modal description.
The Mixolydian Perspective and Beyond
It’s understandable why many musicians, particularly those with a jazz background, might associate the Peter Gunn theme song with the Mixolydian mode. Mixolydian, often described as a major scale with a flattened 7th, is commonly used in dominant 7th chord vamps, a harmonic setting that can superficially resemble the Peter Gunn theme song’s static chordal foundation. Indeed, in many big band arrangements or simplified charts, “Mixolydian” might be shorthand for improvising over a dominant chord. This practical approach prioritizes a sonic flavor – the characteristic sound of the Mixolydian mode – over a strictly theoretical analysis.
However, delving into the actual sheet music of the Peter Gunn theme song reveals a more nuanced harmonic landscape. The melody is peppered with b9 and #9 intervals, elements that venture beyond the typical Mixolydian scale. These alterations point towards an altered dominant chord (alt7), a harmonic device that injects significant tension and chromaticism into the music. This use of altered tones is crucial to the theme’s distinctive and slightly edgy character, moving it away from the purely modal sound of Mixolydian.
Chromaticism: The Secret Ingredient of Peter Gunn and The Pink Panther
The tension created by these #9s and b9s, coupled with a chromatic bassline, is a key element in understanding the Peter Gunn theme song’s brilliance. This chromaticism becomes even more apparent when comparing it to another Mancini masterpiece, The Pink Panther Theme. Both pieces share a common thread: a captivating chromatic melody unfolding over a relatively static harmonic backdrop. This technique distinguishes them from Mancini’s other works, such as the more harmonically conventional “Days of Wine and Roses” or “Mr. Lucky.” While The Pink Panther boasts a more active harmonic rhythm than Peter Gunn, both rely heavily on chromatic melodic movement to generate interest and drive. This emphasis on chromaticism, arguably, leans closer to the blues idiom than traditional jazz harmony, contributing to their unique appeal and widespread recognition.
Soul Jazz Connection: Unearthing Influences
To further appreciate the stylistic context of the Peter Gunn theme song, exploring the realm of Soul Jazz is highly insightful. Genres like Soul Jazz, exemplified by artists like Lee Morgan and Cannonball Adderley, particularly during the era of albums like The Sidewinder and Mercy, Mercy, Mercy, share striking similarities with Mancini’s approach in pieces like Peter Gunn. Soul Jazz often features simpler harmonic structures compared to other jazz styles, repetitive and groove-oriented bass lines, and a deliberate blurring of genre boundaries between jazz, blues, soul, and gospel. These elements are all palpable in the Peter Gunn theme song, suggesting a significant influence of the burgeoning Soul Jazz movement on Mancini’s compositional choices, especially in his themes for film and television.
In conclusion, while understanding the Peter Gunn theme song through the lens of Mixolydian provides a basic framework, a deeper analysis reveals a richer tapestry of harmonic and melodic devices. The strategic use of chromaticism, altered dominant chords, and a connection to the Soul Jazz aesthetic are crucial components that elevate the Peter Gunn theme song beyond a simple modal exercise, solidifying its place as a timeless and endlessly fascinating piece of music.
